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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
The Strings
Non classifié
3 821
Piano & claviers
Piano seul
278
Piano, Voix et Guitare
204
Piano, Voix
82
Accompagnement Piano
75
Orgue
46
Piano Facile
33
Piano Quatuor: piano, violon, alto, violoncelle
29
Piano Trio: piano, violon, violoncelle
21
2 Pianos, 4 mains
17
Instruments en Do
14
Piano Quintette: piano, 2 violons, alto, violoncelle
11
1 Piano, 4 mains
6
Piano (partie séparée)
5
Piano Quatuor: piano, 2 violons, violoncelle
2
Orgue, Piano (duo)
2
Clavecin
2
Clavier
1
Fake Book
1
Accordéon
1
+ 14 instrumentations
Retracter
Guitares
Ukulele
356
Guitare notes et tablatures
239
Guitare
201
Basse electrique
29
2 Guitares (duo)
10
Ligne De Mélodie, (Paroles) et Accords
9
4 Guitares (Quatuor)
7
Banjo
5
Dulcimer
5
Piano, Guitare (duo)
5
Mandoline
5
Ensemble de guitares
3
Guitare (partie séparée)
3
2 Dulcimers (duo)
3
3 Guitares (trio)
1
Guitare, Orchestre
1
Mandoline, Guitare (duo)
1
Luth
1
+ 13 instrumentations
Retracter
Voix
Chorale SATB
262
Chorale 3 parties
55
Chorale Unison
44
Chorale TTBB
33
Chorale 2 parties
25
Voix duo
13
Chorale SSAA
11
Soli, choeur mixte et accompagnement
9
Voix Soprano, Piano
5
Voix haute
5
Pack Instrumental pour Chorale
5
Voix duo, Piano
3
Chorale
3
Voix seule
2
Voix basse, Piano
2
Chorale SSAATTBB
1
Voix moyenne, Piano
1
Chorale SSATTB
1
+ 13 instrumentations
Retracter
Vents
Clarinette (partie séparée)
100
Hautbois (partie séparée)
70
Flûte traversière et Piano
69
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
59
Clarinette
48
Quatuor de Saxophones: 4 saxophones
46
Flûte traversière
40
Saxophone Alto
39
Hautbois, Piano (duo)
37
Saxophone Tenor
37
3 Saxophones (trio)
36
Saxophone (partie séparée)
34
Saxophone Alto et Piano
34
Quatuor de Clarinettes: 4 clarinettes
34
Clarinette et Piano
32
2 Saxophones (duo)
32
Quintette de Saxophone: 5 saxophones
31
Flute (partie séparée)
27
3 Clarinettes (trio)
23
2 Clarinettes (duo)
23
Saxophone Tenor et Piano
22
Flûte, Hautbois, Clarinette, Basson
21
Saxophone Soprano et Piano
18
Quintette de Clarinettes: 5 clarinettes
18
Saxophone Baryton, Piano
16
Ensemble de saxophones
15
Flûte et Guitare
14
Cor anglais, Piano
14
2 Flûtes traversières (duo)
14
Quatuor de Flûtes : 4 flûtes
13
Flûte et Trio à cordes
9
2 Flûte à bec (duo)
8
Flûte, Violon et Violoncelle
8
Flûte, Clarinette (duo)
7
Trio de Flûtes: 3 flûtes
7
Clarinette Basse, Piano
6
Ensemble de Clarinettes
6
Ensemble de Flûtes
6
Quatuor de Flûtes à bec
5
Quintette de Flûte : 5 flûtes
5
Flûte, Hautbois, Clarinette (trio)
5
Hautbois, Clarinette, Basson (trio d'anches)
5
Flûte, Clarinette et Basson
4
Hautbois
4
Flûte, Hautbois, Basson
4
Flûte, Violoncelle
4
3 Flûtes à bec (trio)
4
Clarinette, Guitare (duo)
4
Hautbois, Violin, Alto et Violoncelle (Quatuor)
3
Clarinette, Basson (duo)
3
Hautbois, Basson (duo)
3
Flûte à bec Soprano
3
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
3
Flute, harpe et violon
2
2 Hautbois (duo)
2
3 Hautbois
2
Clarinette, Orchestre
2
2 Clarinettes, Basson
2
Cor anglais, Guitare (duo)
2
Flûte à bec Alto, Piano
2
4 Hautbois
2
Flûte, Violon, Piano
2
Hautbois, Harpe
2
Flûte à bec Soprano, Piano
1
Flûte à bec Tenor
1
Piccolo, Piano
1
Hautbois, Violoncelle et Piano
1
Saxophone et Guitare
1
Piccolo
1
Ensemble de Hautbois
1
Flûte, Hautbois (duo)
1
Flûte à Bec
1
Flûte, Violoncelle, Piano (trio)
1
Flûte, Violon
1
Saxophone, Clarinette (duo)
1
Flûte à Bec, Piano
1
Clarinette, Violon (duo)
1
Flûte à bec Alto
1
Clarinette, Orgue
1
Clarinette, Harpe (duo)
1
Cor Anglais
1
Hautbois, Guitare (duo)
1
Clarinette Basse
1
2 Flûtes traversières, Piano
1
+ 79 instrumentations
Retracter
Cuivres
Trompette (partie séparée)
77
Trombone (partie séparée)
71
Cor (partie séparée)
45
Trompette
40
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
36
Tuba (partie séparée)
35
Cor
32
Trombone
28
Trombone et Piano
28
Quatuor de Cuivres : 2 trompettes, trombone, tuba
27
Cor et Piano
22
Trompette, Piano
17
Euphonium, Piano (duo)
15
Cor anglais, Piano
14
Trompette, Trombone (duo)
11
2 Trompettes (duo)
6
2 Trombones (duo)
6
3 Euphoniums
5
2 Cors (duo)
5
Ensemble de Trombones
4
Ensemble de Cors
3
Quatuor de cuivres: 4 cors
3
Tuba
3
Ensemble de Trompettes
3
Tuba et Piano
3
Euphonium, Tuba (duo)
2
Trombone et orchestre
2
Euphonium
2
2 Euphoniums (duo)
2
4 Tubas
2
Cor anglais, Guitare (duo)
2
Quatuor de cuivres: 4 trombones
2
Quatuor de cuivres: 4 trompettes
2
3 Trompettes (trio)
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Trompette, Cor (duo)
1
Quatuor de Cuivres
1
Ensemble de Tubas
1
3 Cors (trio)
1
Trombone, Cor (duo)
1
Trompette, Harpe
1
Tuba et Orgue
1
2 Tubas (duo)
1
Trompette, Orchestre
1
3 Trombones (trio)
1
Cor Anglais
1
Trompette, Violoncelle (duo)
1
3 Tubas (trio)
1
+ 43 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
1 386
Harpe
631
Trio à Cordes: violon, alto, violoncelle
303
Violon, Violoncelle (duo)
194
Violon (partie séparée)
194
Violon
183
Violon et Piano
177
Violoncelle
153
Quintette à cordes: 2 violons, alto, violoncelle, basse
118
Trio à Cordes: 2 violons, violoncelle
108
2 Violons (duo)
106
Alto (partie séparée)
80
2 Harpes (duo)
75
Contrebasse (partie séparée)
70
Violon, Alto (duo)
64
Alto seul
51
2 Violoncelles (duo)
50
Violoncelle, Piano
49
Alto, Piano
49
Harpe, Violon (duo)
34
Violoncelle (partie séparée)
32
Violon, Guitare (duo)
30
2 Altos (duo)
26
Contre Basse
19
Quatuor à cordes: 4 violons
17
Alto, Violoncelle (duo)
16
Trio à cordes: 3 violins
14
4 Violoncelles
13
Quintette à cordes: 2 violons, 2 altos, violoncelle
13
Contrebasse, Piano (duo)
11
Harpe, Flûte (duo)
9
Trio à cordes: 3 altos
8
Trio à Cordes: 2 violons, alto
8
Trio à Cordes: 3 violoncelles
8
Violoncelle, Contrebasse (duo)
6
Trio à cordes
6
Quatuor à cordes : 4 altos
5
Harpe, Voix
4
Harpe, Quatuor à cordes
4
Piano Trio: Violon, Alto, Piano
4
Ensemble de Violoncelles
3
4 Contrebasses
3
Violoncelle , Guitare (duo)
2
4 Harpes
2
Alto, Guitare (duo)
2
Violoncelle, Orgue
2
2 Contrebasses (duo)
2
3 Harpes
1
Harpe, Orchestre
1
Ensemble de Violons
1
Violoncelle, Orchestre
1
Ensemble d'Altos
1
Harpe et Piano
1
Harpe, Violoncelle (duo)
1
+ 49 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
1 142
Orchestre
928
Orchestre de chambre
618
Ensemble Jazz
206
Orchestre d'harmonie
196
Percussion (partie séparée)
56
Jazz combo
32
Ensemble de Percussions
18
Cloches
16
Ensemble de cuivres
12
Ensemble d'École
9
Batterie
8
Orchestre, Violon
2
Timbales (partie séparée)
2
Batterie (partie séparée)
2
Xylophone
1
Piano et Orchestre
1
Marimba
1
Xylophone, Piano
1
Percussion
1
Vibraphone
1
+ 16 instrumentations
Retracter
Autres
Théorie de la musique
1
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
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VIOLON
VIOLONCELLE
XYLOPHONE
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
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HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
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METHODE : TECHNIQUES
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OPERA
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The Strings
Guitare
Partitions à imprimer
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201
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitare
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INTERMÉDIAIRE
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Classique
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music ...
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Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
Guitar Reading and Technique, The New All-Fret Approach
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Guitare
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FACILE
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Donald B
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Guitar Reading and Technique,
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Donald Miller Music
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.1251016 By Donald B. Miller. By Donald B. Miller. Instructional. Individual part. 96 pages. Donald Miller Music #845311....
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Solo Guitar - Level 2 - SKU: A0.1251016 By Donald B. Miller. By Donald B. Miller. Instructional. Individual part. 96 pages. Donald Miller Music #845311. Published by Donald Miller Music (A0.1251016). Why is it of paramount importance to approach guitar reading tech- nique by working from the lower strings upward rather than from the top string downward? There are many reasons, but two of the most important ones are that chords are built vertically, from the bottom up, and that the lower notes frequently determine the exact fret( s) for these upper and mid- dle neck areas. Therefore this book is based on the only natural approach to guitar reading: from lower strings upward. And it should be noted that this method has met with 100 percent success, whether with students who are beginning non-readers or those who have studied the instrument but read poorly or not at all.
$20.00
Mauro Giuliani Op.1- Studies for the guitar 120 Studies Reimagined and Harmonically Restructured
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Guitare
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INTERMÉDIAIRE
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Eric Charles Mokotoff
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Eric Charles Mokotoff
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Mauro Giuliani Op.1- Studies f
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eric mokotoff
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1292897 Composed by Eric Charles Mokotoff. Arranged by Eric Charles Mokotoff. 19th Century,20th Century,Classical,Instru...
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Solo Guitar - Level 3 - SKU: A0.1292897 Composed by Eric Charles Mokotoff. Arranged by Eric Charles Mokotoff. 19th Century,20th Century,Classical,Instructional,Traditional. Individual part. 32 pages. Eric mokotoff #883493. Published by eric mokotoff (A0.1292897). Mauro Giuliani's Op. 1 Right Hand 120 Studies is now available in this newly reimagined and harmonically restructured format.All 120 studies have been rewritten for both Left and Right Hand progressively moving from 1st position to 10th position.This new course will take you through both Major and Minor Keys traveling through chord structures that will teach you the entirety of the guitars neck and frets.Each study recreates the RH fingering and retains the original rhythms while offering new chord progressions in more keys.The original studies focused on two chords to accomplish the Right Hand focus, but both hands are essential in understanding the connection of the strings, frets, and chord structures.This is an exciting, and compelling project that any serious Classical Guitarist should take advantage of.Now learn and play all 120 Mauro Giuliani Studies with a whole new Harmonic journey. Each Major key expresses a I IV I vi ii V7 I progression and each minor key expresses a i iv i V7 i progression.Teachers, professors, and Universities will be excited to introduce students to a whole new reimagined modern look at these essential pedagogic lessons.
$19.99
STUDY nº 1 op. 60 [ by Matteo Carcassi ]: guitar solo (No fingerings, neither marks)
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Guitare
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FACILE
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Matteo Carcassi
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Cristiano Sousa
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STUDY nº 1 op. 60 [ by Ma
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Cristiano Sousa
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.941923 Composed by Matteo Carcassi. Arranged by Cristiano Sousa. Instructional,Romantic Period,Standards. Individual par...
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Solo Guitar - Level 2 - SKU: A0.941923 Composed by Matteo Carcassi. Arranged by Cristiano Sousa. Instructional,Romantic Period,Standards. Individual part. 2 pages. Cristiano Sousa #6330449. Published by Cristiano Sousa (A0.941923). Study n°1 (Allegro) is focused at scales, although there is a segment with chord arpeggiation. To left hand, different scales can be set for different fingerings. Devices such as position's changes, guide-finger and open strings are recurrent. On the other hand, right hand is trained in index and middle fingers' alternation (scales), as well as thumb, index, middle and ring fingers' arpeggiation (chords).This edition DOES NOT feature detailled fingerings, being useful as blank material for scratches.You can contact me at cristiano.sousa.santos@gmail.com .
$2.99
Feather Space
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Guitare
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AVANCÉ
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Doug Smith
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Feather Space
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Doug Smith Guitar Studio
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.1304748 Composed by Doug Smith. 20th Century,Classical,Contemporary,Instructional,Jazz. Individual part. 5 pages. Doug S...
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Solo Guitar - Level 5 - SKU: A0.1304748 Composed by Doug Smith. 20th Century,Classical,Contemporary,Instructional,Jazz. Individual part. 5 pages. Doug Smith Guitar Studio #894174. Published by Doug Smith Guitar Studio (A0.1304748). Feather Space is music compossed for performance on the eleventh fret of the guitar. The music is etherial in anture. With the high range the performer controls the intonation with attentive listening while fingeing. The music uses chords and melodic phrases five sharps, open strings, arpeggios and delicate harmonics.
$2.99
The Entertainer (Excerpt)
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Guitare
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DÉBUTANT
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Ragtime
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Scott Joplin
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Brian Streckfus
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The Entertainer
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Brian Streckfus
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SheetMusicPlus
Solo Guitar - Level 1 - SKU: A0.1171119 Composed by Scott Joplin. Arranged by Brian Streckfus. 20th Century,Barbershop,Blues,Folk,Ragtime. Individual pa...
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Solo Guitar - Level 1 - SKU: A0.1171119 Composed by Scott Joplin. Arranged by Brian Streckfus. 20th Century,Barbershop,Blues,Folk,Ragtime. Individual part. 2 pages. Brian Streckfus #771449. Published by Brian Streckfus (A0.1171119). 1. 2 page arrangement for guitar. I'm sorry to say this is not the full version, but a 16 page version is long winded for my purposes.2. Guitar Tab added. 3. Slurs and slides added. 4. Re-harmonized to be idiomatic for guitar, be less cliche,  and to emphasize the main melody more. 5. Some composers indications added when really necessary.  6. Left hand fingerings added.7. Chord nomenclature added.8. Overly excessive ties removed.9. Some octaves changes to better suit guitar.Tips:1. Be very careful of the difference between slurs and ties! Sometimes I don't show slurs on the tab, but this time I had to.2. The rests are real and they are suggested because they lead to a jazzier rag time sound. I feel like it goes without saying that sustain is ultimately up to the performer, which is why I removed a lot of pedantic ties; they seem to add confusion half the time. 3. The D7 is a slight key change because it has an F# in the chord. It's a secodary dominace chord, V7/V, and often a vii7b5 can replace it. In other words, the F# goes gravitates into the next chord, a G Major chord.4. G6 is really just the 3 thinnest strings of the guitar open. It's a great transition chord.5. The D# is part of the C major blues scale.6. Adding more 7th chords than originally there is almost always an interesting pursuit. Going from G to G7 can certainly aid in helping things sound more goofy.
$1.99
Patios de Córdoba
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Guitare
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FACILE
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Traditional
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Richard Hirsch
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Patios de Córdoba
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional,World. Individu...
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Solo Guitar - Level 2 - SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional,World. Individual part. 5 pages. Richard Hirsch #203776. Published by Richard Hirsch (A0.594506). An arrangement of the Flamenco Soleares style (palo) for the dance (baile). The musical material for the arrangement is taken from standard traditional themes for the Soleares style of Flamenco. The arrangement is meant for guitarists and students of guitar that are new to Flamenco and want to learn the basics for one of the most important palos in Flamenco. The arrangement can be used to accompany a solo dance, customary in serious (jondo) Flamenco, often performed by a woman dancer. The Soleares rhythm consists of a repetition of a twelve beat phrase the Flamencos refer to as a compás where accents fall on the third, sixth, eight, tenth, and twelfth beats of the phrase (1 2 3 4 5 6 7 8 9 10 11 12). I notate the compás as a series of five measures that comprises two 3/4 measures followed by three 2/4 measures. Throughout the notation there is, therefore, a fluctuating between two measures in 3/4 and three measures in 2/4 time. The first beat of the compás falls on the second beat of the first 3/4 measure in the series and the first accented beat falls on the first beat of the second 3/4 measure. The sixth, eight, and tenth accented beats fall on the first beats of the 2/4 measures in the series. The twelfth beat falls on the first beat of the next series beginning with a 3/4 measure. Notating the compás in this manner allows the guitarist a total grasp of the underlying structure of the music, something that is often lost in other notations I have studied for Soleares. A command of the compás is essential for the guitarist to be able to work with Flamenco singers and dancers. The Soleares is a stately dance that moves at a moderate pace, but often ends in a finale (macho por BulerÃas) that is more than twice as fast as the first sections of the dance. The finale also contains a key change from the Phrygian mode of the llamadas and corridas to the key of E major. The arrangement contains essential basic techniques for Flamenco guitar, the rasqueado, the legato with hammering on, the four finger tremolo that rips at the strings before a full chord with the thumb, alzapúa where the thumb strikes in triplets down, up, down in rapid succession, etc. Students should dedicate themselves to a close and careful study of the notation to gain full mastery of these techniques. The arrangement consists of several sections, the llamadas which are calls to the dancer to take the stage, corridas where the dancer moves in a circle executing various heel and toe steps together with hand, arm, and body gestures, and the macho where the dance ends in a storm of stamping and a fit of wild abandon. The corrida sections consist of melodies Flamencos call “falsetasâ€. One of these is simply a series of broken chords while another is a melody taken from a song called “Caña†that is a member of the Soleares family. The notation ends, as is prescribed for the dance, on the tenth beat of the last compás (the first beat of the last 2/4 measure in the last five measure series). The Soleares was the first palo my maestro Juan González “Triguito†introduced me to in my studies with him in Madrid in the late 1960’s and is considered to be the “mother†of true forms of Flamenco. The title of the arrangement is in celebration of the beautiful patios of Córdoba, home of the Flamenco palo Soleares.
$3.99
Melody Guitar Book 2: Strings 4-6
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Guitare
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DÉBUTANT
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Methodes
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Tom Godfrey
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Melody Guitar Book 2: Strings
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Tom Godfrey
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SheetMusicPlus
Guitar - Level 1 - SKU: A0.977918 Composed by Tom Godfrey. Instructional. Educational Method. 92 pages. Tom Godfrey #4822759. Published by Tom Godfrey (...
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Guitar - Level 1 - SKU: A0.977918 Composed by Tom Godfrey. Instructional. Educational Method. 92 pages. Tom Godfrey #4822759. Published by Tom Godfrey (A0.977918). The Godfrey Guitar System series includes four Melody Guitar books that focus on melody playing and music reading and three Rhythm Guitar books that focus on chords and accompaniment patterns. Melody Guitar Book 2 picks up where Melody Guitar Book 1, leaves off. You will learn notes on strings 4-6, as well as the minor pentatonic, blues, and chromatic scales as you progress through 160 melodies and exercises. Along the way, you will be introduced to sharps and flats, articulations, musical roadmaps, tempo markings, and much more. Melody Guitar Book 2 also includes several duets that you can play with a friend or a teacher. The Melody Guitar and Rhythm Guitar books together will help you build a solid foundation for any style of music. Visit www.godfreyguitarlessons.com for free supplementary downloads and online lesson information.
$11.00
Song For My Father
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Guitare
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AVANCÉ
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Jazz
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Horace Silver
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Scott Sanchez
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Song For My Father
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Scott R. Sanchez
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.921841 By Horace Silver. By Horace Silver. Arranged by Scott Sanchez. Jazz. Individual part. 4 pages. Scott R. Sanchez #...
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Solo Guitar - Level 5 - SKU: A0.921841 By Horace Silver. By Horace Silver. Arranged by Scott Sanchez. Jazz. Individual part. 4 pages. Scott R. Sanchez #4757779. Published by Scott R. Sanchez (A0.921841). Song for My Father by Horace Silver (1928-2014) is a jazz tune from the 1965 album Song for My Father by the Horace Silver Quintet. This arrangement was conceived on classical guitar and can be played on steel or nylon strings. Arrangement by Scott Sanchez
$4.99
Here Comes The Sun
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Guitare
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DÉBUTANT
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Rock
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The Beatles
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Enrique Rojas
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Here Comes The Sun
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Enrique Rojas Music
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SheetMusicPlus
Solo Guitar - Level 1 - SKU: A0.1239627 By The Beatles. By George Harrison. Arranged by Enrique Rojas. Pop,Wedding. Individual part. 3 pages. Enrique Ro...
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Solo Guitar - Level 1 - SKU: A0.1239627 By The Beatles. By George Harrison. Arranged by Enrique Rojas. Pop,Wedding. Individual part. 3 pages. Enrique Rojas Music #835014. Published by Enrique Rojas Music (A0.1239627). This is a fingerstyle guitar arrangement to be played as soloist or with accompaniment for the song Here Comes The Sun by The Beatles. This easy arrangement is ideal for guitarists who would like to include popular music into their repertoire. It uses standard tuning and open chords to maximize open strings to harmonize with the melody. The Key is C Major.
$4.99
The Fundamentals Fretboard Knowledge
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Guitare
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INTERMÉDIAIRE
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Gary Wolk
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Gary Wolk
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The Fundamentals Fretboard Kno
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Gary Wolk Music
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.851251 By Gary Wolk. By Gary Wolk. Arranged by Gary Wolk. 20th Century,Contemporary,Instructional,Jazz,Traditional. Indi...
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Solo Guitar - Level 3 - SKU: A0.851251 By Gary Wolk. By Gary Wolk. Arranged by Gary Wolk. 20th Century,Contemporary,Instructional,Jazz,Traditional. Individual part. 34 pages. Gary Wolk Music #457913. Published by Gary Wolk Music (A0.851251). This book is designed to help the guitarist gain more knowledge of the entire guitar fretboard (or fingerboard) It explores the fret board from open strings to the 22nd fret. As with most stringed instruments there may be two to three places to play the same note, as well as multiple places to play chords. It goes deeper into movable chord forms, and scales up the neck.
$12.99
In The Bleak Midwinter for solo guitar
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Guitare
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INTERMÉDIAIRE
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Noël
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Gustav Holst
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Simon James
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In The Bleak Midwinter for sol
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DML
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1101385 Composed by Gustav Holst. Arranged by Simon James. 20th Century,Christmas,Classical,Contemporary,Instructional. ...
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Solo Guitar - Level 3 - SKU: A0.1101385 Composed by Gustav Holst. Arranged by Simon James. 20th Century,Christmas,Classical,Contemporary,Instructional. Individual part. 5 pages. DML #704780. Published by DML (A0.1101385). In the Bleak Midwinter is a poem by the English poet Christina Rossetti, commonly performed as a Christmas carol. The poem was published, under the title A Christmas Carol, in the January 1872 issue of Scribners Monthly and was first collected in book form in Goblin Market, The Prince's Progress and Other Poems (Macmillan, 1875). In 1906, Gustav Holst composed a setting of Rossetti's words (titled Cranham) in The English Hymnal which is sung throughout the world and is the basis of this arrangement. A wonderful tune that works well on the guitar as a solo piece. The arrangement makes extensive use of open strings and I have indicated this wherever it is important.
$2.99
In the Bleak Midwinter - with strings trio play along
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Guitare
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DÉBUTANT
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Noël
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Gustav Holst
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Samuel Sequeira
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In the Bleak Midwinter - with
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Samuel Sequeira
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SheetMusicPlus
Solo Guitar - Level 1 - SKU: A0.1148573 Composed by Gustav Holst. Arranged by Samuel Sequeira. 19th Century,Christmas,Classical,Traditional. Individual ...
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Solo Guitar - Level 1 - SKU: A0.1148573 Composed by Gustav Holst. Arranged by Samuel Sequeira. 19th Century,Christmas,Classical,Traditional. Individual part. 4 pages. Samuel Sequeira #748735. Published by Samuel Sequeira (A0.1148573). In the Bleak MidWinter - Gustav Holst - ScorePlay it at home, with friends, on class, for your teacher or studentPlay it on a public presentation.More arrangements on the link: Sam'S arrangementsIn the Bleak Midwinter - with strings trio play along. Instrument part score avaiable on this sale. Strings trio play along avaiable on the youtube linkContact the Arranger:Youtube: @SamuelseqInstagram: @SamuelseqEmail: samyseq@gmail.com
$1.99
A Journey on Strings
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Geoff Sawyer
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A Journey on Strings
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Geoff Sawyer
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1159570 Composed by Geoff Sawyer. Classical,Contemporary. Individual part. 16 pages. Geoff Sawyer #759829. Published by ...
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Solo Guitar - Level 4 - SKU: A0.1159570 Composed by Geoff Sawyer. Classical,Contemporary. Individual part. 16 pages. Geoff Sawyer #759829. Published by Geoff Sawyer (A0.1159570). 7 original pieces for classical guitar. Â I received early inspiration for a few of these pieces while studying with John Marlow (AU), and more recently with Larry Snitzler (GMU), who were both mentored by Andres Segovia. Â My composition instructers included Russell Woolen (CU), and Glenn Smith (GMU).
$24.99
Largo from Concerto for Lute & Strings in D, RV. 93
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Guitare
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INTERMÉDIAIRE
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Classique
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Antonio Vivaldi
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Justin Craig
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Largo from Concerto for Lute &
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JCMuse
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SheetMusicPlus
Guitar - Level 3 - SKU: A0.1168378 Composed by Antonio Vivaldi. Arranged by Justin Craig. Baroque,Chamber,Classical,Early Music,Instructional. 7 pages. ...
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Guitar - Level 3 - SKU: A0.1168378 Composed by Antonio Vivaldi. Arranged by Justin Craig. Baroque,Chamber,Classical,Early Music,Instructional. 7 pages. JCMuse #768709. Published by JCMuse (A0.1168378). An arrangement of the Largo (Mvt II) Â from the Concerto for Lute & Strings in D, RV. 93 for five guitars. Â Includes the soloist part and four part guitar accompaniment score. Â Also includes notes on ornamentation, optional fingering and solo arrangement.
$6.99
The Old Balladeer
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Guitare
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INTERMÉDIAIRE
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Doug Smith
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The Old Balladeer
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Doug Smith Guitar Studio
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1249738 Composed by Doug Smith. 20th Century,21st Century,Classical,Folk. Individual part. 5 pages. Doug Smith Guitar St...
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Solo Guitar - Level 3 - SKU: A0.1249738 Composed by Doug Smith. 20th Century,21st Century,Classical,Folk. Individual part. 5 pages. Doug Smith Guitar Studio #844129. Published by Doug Smith Guitar Studio (A0.1249738). An Old Balladeer expresses the mystery, beauty and joy of memories told about the times that came before us. The music uses a low D tuning.The piece uses arpeggios on the bass strings played with the thumb. Over the top of the arpeggios is woven a beautiful harmonized melody that is played with a soft touch. Half way through, a dance like groove in the bass adds motion and the music gently winds its way to an ending with a soft strum of a full D Chord across all six strings.
$1.99
Here Comes The Sun
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Rock
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The Beatles
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Nick Magson
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Here Comes The Sun
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Magsonic
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1241613 By The Beatles. By George Harrison. Arranged by Nick Magson. Classical,Folk,Latin,Pop,Rock. Individual part. 3 p...
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Solo Guitar - Level 4 - SKU: A0.1241613 By The Beatles. By George Harrison. Arranged by Nick Magson. Classical,Folk,Latin,Pop,Rock. Individual part. 3 pages. Magsonic #836976. Published by Magsonic (A0.1241613). A notated arrangment of George Harrison's classic Here Comes the Sun for solo classical or fingerstyle guitar.It's key of A major allows for a faithful evocation of the originals' sunny chordal opening while leaving the bass strings free for a hint of latin syncopation.
$5.80
Faron Woods - The Legend of Zelda: Twilight Princess
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Guitare
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FACILE
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Koji Kondo
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William G
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Faron Woods - The Legend of Ze
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William G. Walrath IV
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.1487098 Composed by Koji Kondo. Arranged by William G. Walrath IV. Classical,Video Game. Individual part. 2 pages. Willi...
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Solo Guitar - Level 2 - SKU: A0.1487098 Composed by Koji Kondo. Arranged by William G. Walrath IV. Classical,Video Game. Individual part. 2 pages. William G. Walrath IV #1064074. Published by William G. Walrath IV (A0.1487098). Faron Woods, from The Legend of Zelda: Twilight Princess arranged for solo classical guitar. I always loved this piece, and when I began to fell in love with classical guitar, I wondered what it would sound like on solo nylon strings. I recommend playing with the capo on the 4th fret.
$5.99
The Crystal Palace
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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New Age
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Contemporain
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Adam Frank
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The Crystal Palace
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Adam Frank
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.976152 By Adam Frank. By Adam Frank. 20th Century,Classical,Contemporary,New Age. Individual part. 7 pages. Adam Frank #...
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Solo Guitar - Level 4 - SKU: A0.976152 By Adam Frank. By Adam Frank. 20th Century,Classical,Contemporary,New Age. Individual part. 7 pages. Adam Frank #581515. Published by Adam Frank (A0.976152). The Crystal Palace is a solo guitar piece written in an altered tuning. Passages highlighting different effects, such as harmonics ringing out over open strings, droning bass notes, and rasgueados adds to the already prevailing mystical quality of this developmental piece.
$4.99
À vos guitares, prêts, jouez! Vol. 4
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Guitare
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À vos guitares, prêts, jouez
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SheetMusicPlus
This fourth booklet is dedicated to ensemble playing through five trios and three quartets of various styles (tango, ballad, rock, etc.) appropriate for the end...
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This fourth booklet is dedicated to ensemble playing through five trios and three quartets of various styles (tango, ballad, rock, etc.) appropriate for the end of primary school with a few years of experience and the beginning of secondary school. Some pieces are written in a homorhythmic manner and can constitute an introduction to ensemble music, while others are rather polyrhythmic. They can constitute a first contact with the following techniques and effects: staccato, pizzicato, accent, louré, natural harmonic, percussion or crossed strings. This volume is therefore intended for guitarists who already know the notes in first position. Two pieces include a more advanced part with an introduction to playing in 5th position. These are short pieces that do not present technical challenges other than those allowing you to achieve the effects and play expressively.You will find in the scores indications of nuances, timbre, attack and fingerings which constitute suggestions for work and not prescriptions. Teachers and students are therefore invited to make interpretation choices different from those proposed or to try to convincingly render those already written.The pieces were composed or arranged by UQAM music education students as part of a course aimed at equipping musicians for teaching guitar in the school system. Many of them are musicians from different backgrounds (composition, performance, world music, etc.), which explains the creativity found in the pieces. All the pieces have been the subject of an audio recording available on the Productions d’Oz website and on YouTube. Search for À vos guitares, prêt, joue! Vol. 4.Isabelle Héroux, editor, professor, Department of Music, UQAM.Louis-Edouard Thouin-Poppe, assistant editor, arranger and engraver.Ce quatrième cahier est consacré au jeu en ensemble grâce à cinq trios et trois quatuors de styles variés (tango, ballade, rock…) appropriés pour la fin du primaire avec quelques années d’expérience et le début du secondaire. Certaines pièces sont écrites de manière homorythmique et peuvent constituer une initiation à la musique d’ensemble, alors que d’autres sont plutôt polyrythmiques. Elles peuvent constituer un premier contact avec les techniques et effets suivants : staccato, pizzicato, accent, louré, harmonique naturelle, percussion ou cordes croisées. Ce volume s’adresse donc aux guitaristes qui connaissent déjà les notes en première position. Deux pièces comportent une partie plus avancée avec une initiation au jeu en Ve position. Ce sont des pièces courtes qui ne présentent pas de défis techniques outre ceux permettant de réaliser les effets et de jouer de manière expressive. Vous trouverez dans les partitions des indications de nuances, de timbre, d’attaque et de doigtés qui constituent des suggestions de travail et non des prescriptions. Ainsi, les enseignants et les élèves sont invités à faire des choix d’interprétation différents de ceux qui sont proposés ou à tenter de rendre de manière convaincante ceux déjà écrits.Les pièces ont été composées ou arrangées par des étudiants en enseignement de la musique de l’UQAM dans le cadre d’un cours qui vise à outiller les musiciens pour l’enseignement de la guitare dans le système scolaire. Beaucoup d’entre eux sont des musiciens provenant d’horizons différents (composition, interprétation, musique du monde, etc.) ce qui explique la créativité que l’on retrouve dans les pièces. Toutes les pièces ont fait l’objet d’un enregistrement audio disponible sur le site des Productions d’Oz et sur YouTube. Recherchez À vos guitares, prêts, jouez! Vol. 4.Isabelle Héroux, éditrice, professeure, Département de musique, UQAM.Louis-Edouard Thouin-Poppe, assistant éditeur, arrangeur et graveur
Song List
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1. Songe d'une nuit de printemps
2. Nostalgie
3. Tres guitarras
4. Jeu froid (tude rock)
5. Le dernier souffle
6. Manhattan
7. Baile de la passion
8. Corsaires
9. Cerisier Japonais
$9.95
Nadir
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Guitare
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Apostolos Paraskevas
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Nadir
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Silver Sickle Publications
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SheetMusicPlus
Solo Guitar - SKU: A0.942099 Composed by Apostolos Paraskevas. 20th Century,Contemporary,World. Individual part. 9 pages. Silver Sickle Publications #62...
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Solo Guitar - SKU: A0.942099 Composed by Apostolos Paraskevas. 20th Century,Contemporary,World. Individual part. 9 pages. Silver Sickle Publications #6227369. Published by Silver Sickle Publications (A0.942099). Nadir (1994) is written for prepared guitar, a term usually associated with a piano in which certain objects have been placed on the strings in order to alter the conventional sound of the instrument. Many composers have written music for prepared piano, among them John Cage, who, according to Mr. Paraskevas, was the inspiration for his transferring of the same technique to the guitar. It is quite possible that nobody has used this kind of technique on the guitar before. After experimenting with various materials, he decided on the use of two metal paper clips, which he puts at specific locations on the fingerboard, so that they best produce the desired sound effect, a sound both harmonic and percussive. Nadir suggests the lowest point, here associated with the notion of death. The piece bears many programmatic references to the struggle between good and evil, life and death, musically portrayed in the persistent ostinato rhythms and the fragmented melodic phrases. Death cuts through in the form of an abrupt strike on the wood, the fingers continue to play but no sound is heard, until two more strikes make their movement stop. Little by little life and sound start again, but the final strike brings about the pessimistic message that fate and death predominate in the end. The piece ends with the inscription ...but sooner or later we live forever - a final optimistic touch. Nadir was the outcome of continuous experimentation on the capabilities of the guitar as an instrument, and all the potential sound effects that one can draw from it. ...Dr. Paraskevas, is an amazingly versatile guitarist. He conquers the many technical challenges of this repertoire with ease, he can sing with the purest tone (try the opening work, Alfonsina y el Mar, and see). What makes Visions of Azure a wonderful guitar CD rather than simply a good one is the last 18 minutes. The guitarist saves his own compositions for last, and if the ear is fatigued at this point in the recital. Paraskevas gives it good reason to wake up....I am sold on Paraskevas's playing, and do not think hunting down the alternatives is necessary. In short, this is an essential CD for those interested in modern classical guitar.
$8.99
Prelude No 1 in D (Memories)
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Guitare
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INTERMÉDIAIRE
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Simon James
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Prelude No 1 in D
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DML
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1185160 Composed by Simon James. 20th Century,Classical,Contemporary,Instructional. Individual part. 5 pages. DML #78484...
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Solo Guitar - Level 3 - SKU: A0.1185160 Composed by Simon James. 20th Century,Classical,Contemporary,Instructional. Individual part. 5 pages. DML #784842. Published by DML (A0.1185160). These short Preludes for guitar are intended to illustrate a particular technical point or points. It may be either technical or compositional or both and I would have to say that I have been influenced by Tarrega’s Preludes which he wrote mostly for his students and so have called them Preludes rather than Studies. I learnt Tarrega’s pieces such as Adelita and Lagrima early in my study of the guitar and always enjoyed their nature as both technical exercises but also performance pieces. I have tried to emulate that with these pieces. The piece is written as a Fugue with two voices. The idea was to explore counterpoint on the guitar and how to handle it. The time signature is 6/8 which suits the guitar well as it gives a very lyrical feel. The first voice opens the piece with the subject and then at bar 8 the second voice enters in the bass while the first voice plays the countersubject. I have given considerable technical guidance both in fingering and the use of different strings as these pieces are intended to be instructional, if in doubt you will find all the techniques you need in my book The Art Of Accompaniment On The Guitar available from Amazon.
$2.99
Sonata No. 6 "Kharkiv", Op. 48
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Guitare
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AVANCÉ
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Classique
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Konstantin Bliokh
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Sonata No. 6 "Kharkiv", Op. 48
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4244. Published by Les Production...
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Guitar - Advanced - SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4244. Published by Les Productions d'OZ - Digital (ZZ.DZ-4244). La Sonate n° 6 Kharkiv pour guitare solo a été composée en 2021, à la fin du confinement lié au COVID-19. Ã? ce moment-là , ma famille et moi étions restés dans notre ville natale de Kharkiv (également connue sous le nom de Kharkov), en Ukraine, pendant près de deux ans. Nous considérions cette période de pandémie comme un désastre, mais nous avons réalisé plus tard que c'était en fait un moment plutôt heureux, car la guerre est arrivée dans notre pays quelques mois plus tard. Depuis 2022, une fraction considérable des 1,5 million de citoyens de Kharkiv ont quitté leur foyer, ceux qui sont restés vivent sous des attaques incessantes de missiles, et beaucoup ont été tués. Je voudrais dédier cette Sonate à la ville frontalière de Kharkiv et, surtout, à ses citoyens souffrant de la guerre.Pourtant, la musique de la Sonate n'a aucun programme spécifique. Ici, je donnerai un bref aperçu de ses principaux éléments de composition pour faciliter les interprétations futures.Les premier et quatrième mouvements de cette Sonate sont basés sur l'interaction entre le principe dodécaphonique et le centre tonal de sol majeur, naturel pour la guitare. En particulier, le premier mouvement est basé sur l'interaction de la triade de sol majeur Solâ??Siâ??Ré des cordes de guitare à vide 2â??3â??4, le motif ascendant 1 impliquant les notes Miâ??Fa#â??Laâ??Do# (à l'origine sur la première corde), et le motif descendant 2 utilisant les notes Miâ??Doâ??Sibâ??La (à l'origine sur la corde de basse 6). Ces éléments se complètent presque pour former douze tons (à l'exception du Fa manquant), et les motifs alternent avec des fragments ostinato où chaque note de la triade de sol majeur est déplacée pas à pas d'un demi-ton vers le haut ou vers le bas.Le deuxième mouvement est un Scherzo impliquant de nombreux demi-tons dans des accords accentués et des passages rapides, ainsi qu'un mouvement mélodique chromatique dans la voix de basse. Il est presque atonal dans certains fragments, mais a un centre tonal global de la mineur.Le troisième mouvement est un Adagio méditatif basé sur un thème composé dans l'échelle hexatonique Réâ??Miâ??Faâ??Sol#â??Laâ??Si et des accords ostinato impliquant les cordes de basse à vide Miâ??Laâ??Ré et le demi-ton Siâ??Do.Enfin, le quatrième mouvement est basé sur le thème dodécaphonique complet composé de deux phrases comprenant les motifs 1 et 2 du premier mouvement : Solâ??Faâ??Sibâ??Labâ??Doâ??Mibâ??Ré et Miâ??Siâ??Do#â??Laâ??Fa#. Ce thème est présenté dans ses formes prime et rétrograde. Il y a des dialogues entre la première corde, les basses et les cordes médianes à vide, similaires au premier mouvement. Ã? son apogée, le thème dodécaphonique est interprété en utilisant le mouvement parallèle de l'accord de sol majeur standard de la guitare avec les cordes médianes à vide sur douze positions.La Sonate a été créée en première et enregistrée (CD Naxos No. 8.574630) par le célèbre guitariste ukrainien Marko Topchii, qui a également vécu et étudié à Kharkiv. Je lui suis extrêmement reconnaissant pour l'interprétation brillante de cette pièce.Je suis très redevable envers Productions d'Oz d'avoir conservé mes notations originales là où celles-ci ne correspondent pas au style de l'éditeur.Sonata No. 6 Kharkiv for guitar solo was composed in 2021, in the end of the COVID-19 lockdown. At that time my family and I were staying in our home city of Kharkiv (also known as Kharkov), Ukraine for almost two years. We considered that pandemic period as a disaster, but later have realized that it actually was a rather happy time, because a war came to our homeland just a few months later. Since 2022 a considerable fraction of the 1.5 millions of Kharkiv citizens have left their homes, those who stayed have been living under ceaseless missile attacks, and many have been killed. I would like to dedicate this Sonata to the frontier city of Kharkiv and, most of all, to its citizens suffering from the war.Yet, the music of the Sonata does not have any specific program. Here I will give a brief overview of its main composition elements to facilitate future interpretations.The first and fourth movements of this Sonata are based on the interplay between the twelve-tone principle and the G-major tonal center, natural for the guitar. Namely, the first movement is based on the interaction of the G-major triad Gâ??Bâ??D of the open guitar strings 2â??3â??4, ascending motif 1 involving the notes Eâ??F#â??Aâ??C# (originally on the first string), and descending motif 2 using the notes E-â??Câ??Bbâ??A- (originally, on the bass string 6). These elements supplement each other to almost make up twelve tones (apart from the missing F), and the motifs alternate with ostinato fragments where each note in the G major triad is step-by-step moved by a semitone up or down.The second movement is a Scherzo involving numerous semitones in accented chords and fast passages, as well as chromatic melodic motion in the bass voice. It is almost atonal in some fragments, but has an overall tonal center of A-minor.The third movement is a meditative Adagio based on a theme composed within hexatonic scale Dâ??Eâ??Fâ??G#â??Aâ??B and ostinato chords involving open bass strings Eâ??Aâ??D and semitone Bâ??C.Finally, the fourth movement is based on the complete twelve-tone theme consisting of two phrases including motifs 1 and 2 from the first movement: Gâ??Fâ??Bbâ??Abâ??Câ??Ebâ??D and Eâ??Bâ??C#â??Aâ??F#. This theme is presented in its prime and retrograde forms. There are dialogues between the first string, basses and open middle strings, similar to the first movement. In the culmination, the twelve-tone theme is performed using the parallel motion of the standard guitar G-major chord with open middle strings across twelve positions.The Sonata was premiered and recorded (CD Naxos No. 8.574630) by the prominent Ukrainian guitarist Marko Topchii who has also lived and studied in Kharkiv. I am extremely grateful to him for the brilliant performance of this piece.I am greatly indebted to Productions dâ??Oz for keeping my original notations in places where these do not conform to the publisherâ??s style.
$7.95
Prelude No 3 in C (Streams)
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Simon James
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Prelude No 3 in C
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DML
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1189167 Composed by Simon James. Classical,Contemporary,Instructional. Individual part. 6 pages. DML #788788. Published ...
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Solo Guitar - Level 4 - SKU: A0.1189167 Composed by Simon James. Classical,Contemporary,Instructional. Individual part. 6 pages. DML #788788. Published by DML (A0.1189167). These short Preludes for guitar are intended to illustrate a particular technical point or points. It may be either technical or compositional or both and I would have to say that I have been influenced by Tarrega’s Preludes which he wrote mostly for his students and so have called them Preludes rather than Studies. I learnt Tarrega’s pieces such as Adelita and Lagrima early in my study of the guitar and always enjoyed their nature as both technical exercises but also performance pieces. I have tried to emulate that with these pieces. The piece makes extensive use of open strings but is essentially a set of variations. The melody keeps returning but with small alterations as does the accompaniment. There is also a B section in E minor before a return to the opening melody. The return to the opening section has, as a variation, a change in bass and harmony. The original C major7 chord becomes E minor by changing the bass and the E minor chord becomes C major7 in the same fashion. The effect is subtle but attractive and is no harder to play.
$2.99
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